Quote Originally Posted by panastasia View Post
The materials they were using are still on the market. I use them.

Reducing fixing time was never recommended, but neither was extending it.

Not gods, yes, but they did know what they were talking about, and I trust that they knew what they were doing.
Still on the market yes, but from this article, appearantly there has been changes in the formula of the Kodak toner which AA also used:

"Doug Nishimura cautions that partial toning or split-toning with selenium will leave the untoned portion of the print unprotected, as the selenium preferentially tones finer grains of silver in high-density areas of the print first. Untoned portions of the image may be subject to future deterioration.* This flies in the face of longstanding advice from Kodak which, as repeated by Ansel Adams and many others, said that selenium provides protection even in very high dilutions which do not cause color changes. Apparently at one time Kodak Selenium Toner may have contained “small amounts of highly active sulfiding agents” which provided protection that selenium alone cannot provide unless toning is carried to completion. At some point in the 1980’s manufacturing changes eliminated these agents. Doug Nishimura indicates (in a letter to Jennifer Scott) that complete protection with Kodak Selenium Toner requires a dilution of not more than 1:9, and a toning period of 3 to 5 minutes at 68."

It's not only shorter fixing but also making the dillution stronger, so the effect is the same only it does not penetrate the whole paper.
I've read about that a couple of times now and my teacher advised the method so there has to be some truth in it.
He once had to send his prints to Kodak to let them test if it was archival worthy for the gallery who asked for a Kodak-certificate. He finally got his process right and that was partially due to the fact he fixed shorter but with an intenser dillution which made it easier to get rid of the fix in the paper.